| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "HEROES LITERATURE": |
|
|
The Tragic Hero in Modern Literature, 2002.
A discussion of tragic heroes in modern, American literature.
9,500 words (approx. 38.0 pages), 10 sources, MLA, £ 137.95
»
Click here to show/hide summary
Abstract
Today, people do not often see the unquestionable splendor of royalty, the unrelenting actions of the hand of fate, or the importance of human interactions. Does that mean that a tragic hero could not exist in the modern world? This paper reviews what a tragic hero is and illustrates this type of character with examples from "Oedipus Rex". Then, the heroes of "The Zoo Story", by Edward Allbee, "One Flew over the Cuckoo's Nest", by Ken Kesey, "Death of a Salesman", by Arthur Miller, "The Catcher in the Rye", by J.D. Salinger, and the "Autobiography of Malcom X" are compared to the definition of a tragic hero. The paper concludes that modern society may not believe in crowns, robes and the hand of fate, but it believes in the ability to create revolution. It is in these revolutions that tragic heroes emerge.
From the Paper
"Modern society may not believe in crowns, robes, and the hand of fate, but it believes in the ability to create revolution. It is in these revolutions that tragic heroes emerge. The act of inciting revolution and change becomes noble. By unselfish actions, courage, and honor, these revolutionaries create a new class of nobility. This idea can be seen in society, and literature is imitating it, just like Aristotle said it should. While there are still many "phonies" in the world, the tragic hero has reemerged to put them in their place."
| |
|
Hero in Literature, 2004.
An exploration of the meaning of a true heroic character in literature and in life.
2,647 words (approx. 10.6 pages), 7 sources, MLA, £ 56.95
»
Click here to show/hide summary
Abstract
This paper seeks to establish a firm definition of what a hero is considered to be and then to look at the hero, Odysseus, as compared with the hero, Beowulf. The writer looks at a number of books in which a hero is portrayed to discover what exactly it takes to be a hero.
From the Paper
"Although Beowulf is not defined as supernatural, his physical feats and bravery are considered beyond that of a normal man. Beowulf, however, seems to believe that he is immortal. He promises to put an end, without weapons and single-handedly, to Grendel, a monster who eats thirty things at a time and has terrorized the Danes unchecked for twelve years. When he first speaks with Hrothgar he delineates his accomplishments as though to prove that he is indestructible. This is simply not true: Beowulf is a mortal man who dies at the end of the story."
| |
|
Heroism in Literature, 2008.
An examination of the concept of a hero in "Beowulf",
Homer's "The Iliad", "Gilgamesh", Homer's "The Odyssey" and "Tale of the Heike".
1,866 words (approx. 7.5 pages), 11 sources, MLA, £ 41.95
»
Click here to show/hide summary
Abstract
The paper examines five works of ancient literature, "Beowulf",
Homer's "The Iliad", "Gilgamesh", Homer's "The Odyssey" and "Tale of the Heike" in order to determine the meaning of the hero concept as advocated by their authors. The paper relates that Beowulf, Achilles and Odysseus battle against physical monsters, while the Samurai fights a symbolically spiritual battle, although spirituality does play a vitally important role in the lives of all heroes. The paper also shows how society determines the main qualities of the heroes as they manifest themselves in the particular literature of a specific time and a specific region.
Outline:
Beowulf
The Iliad
Gilgamesh
The Odyssey
Tale of the Heike
Conclusion
From the Paper
"The word "hero" today entails a variety of meanings, depending upon the situation, the person referred to, and the mindset of the person speaking. Generally, the connotation of the word refers to somebody who performs a brave action regardless of the danger to him or herself. When examining the ancient literature from different cultures, the meaning of the word "hero" can be estimated and compared with others of its time, and also more modern meanings attached to the word. To this end, five works of ancient literature are examined in order to determine the meaning of the hero concept as advocated by their authors."
| |
|
Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, £ 24.95
»
Click here to show/hide summary
Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
| |
|
World War One Literature, 2005.
An analysis of the extent to which "The Hero" by Siegfried Sassoon, "Journey's End" by R.C.Sherriff and "Testament of Youth" by Vera Brittain are typical of texts about World War One literature.
2,545 words (approx. 10.2 pages), 0 sources, MLA, £ 54.95
»
Click here to show/hide summary
Abstract
This paper analyses three texts in terms of language form and structure and the way the writers use the genre of their choice to express their thoughts and feelings. By incorporating a wide range of other World War One texts it looks at how the texts are typical of World War One literature and the influence of the time of composition and the significance of the gender of the writers.
From the Paper
"?Journey?s End? written by R.C.Sherriff continues to be one of the most enduringly popular plays written about the First World War. The play, set in a dug out in the trenches, explores the tensions between a group of officers waiting for an enemy attack. In this extract Osborne and Stanhope discuss the new arrival, the young officer Raleigh, who is the brother of the girl Stanhope is in love with. ?Journey?s End? is a particularly useful text when looking at what is typical of a World War One text as it focuses on one of the most common themes; the polarity between the home and fighting fronts in terms of attitudes towards the war. In this play we see how young men are still enthusiastic to ?join up?, even as late as March 1918 after the atrocities of the Somme, Verdun and at Passchendaele, while being completely ignorant of the genuine conditions of a truly mechanical war."
| |
|
Medieval Epic Literature, 2008.
Looks at gender ideals in medieval epic literature as presented in "Beowulf", "Sir Gawain and the Green Knight" and Geoffrey Chaucer's "Canterbury Tales".
1,435 words (approx. 5.7 pages), 1 source, MLA, £ 33.95
»
Click here to show/hide summary
Abstract
This paper explains that the medieval masculine and feminine ideals are very well represented in three major texts of English literature: "Beowulf", "Sir Gawain and the Green Knight" and Geoffrey Chaucer's "Canterbury Tales". The main heroes and their female companions in these three texts share very important features, both physically and psychically, which indicates that there is a pattern in medieval literature regarding the essential characteristics of a virtuous individual. The author contends that the main necessary features for the male hero are honor, prowess, valor and purity of heart; however, the female characters, who are also very virtuous, pure and extremely beautiful, are passive characters that serve only as instruments to men's actions.
From the Paper
"The male ideal briefly sketched above is complemented by the female ideal of such characters as Wealhtheow, King Hrothgar's wife in "Beowulf", or Guinevere, King Arthur's wife. Both are perfect beauties and virtuous, gentle persons. However, they are no more than icons, without a real importance. Although Wealhtheow seems to play a role in the poem as she makes two speeches in important moments of the action and performs ritualistic acts, she is actually just an instrument in the very masculine world of the epic. Women do no play a role as such in the medieval society, although they can have some value as emblems for purity and beauty."
| |
|
What is American Literature?, 2007.
This paper discusses the characteristics and complexity of American literature.
1,291 words (approx. 5.2 pages), 3 sources, MLA, £ 30.95
»
Click here to show/hide summary
Abstract
In this article, the writer discusses that the more broadly, deeply, objectively and honestly one reflects on the question of what is; or is not American literature, the more complex the issue becomes. The writer then provides a definition of literature before examining the issue of American literature. The writer concludes that aspects of American life and character that often, although not always, get left out of literary works often have to do with politics and/or political processes perhaps because their bad effects, while known, are probably hard to describe in terms of tangible effects on an individual hero or life situation.
From the Paper
"The question of what it means to be an American is an even more complex one; and it brings my cynicism to the surface. When I read Walt Whitman's gigantic, beautiful, exuberant ode to America these days that was first published in 1855, when being an American was obviously a whole different experience than it is for Americans today, I wish I could feel half as enthusiastic about being an American today as he obviously did back then. Nowadays, I think that to be an American (in general) just means to be an overly materialistic; chronically-shallow thinker; who is (therefore) gullible to bad political influences and the wrong kinds of "peer pressure" (e.g., to smoke; to drink; to deface public property with graffiti); and whose only real religion is materialism and whose main reason for even being alive is just to buy more and more material stuff, and to be entertained (mindlessly) mostly by television."
| |
|
Heroism, Leadership and Victory in Literature, 2002.
Examines the three concepts of heroism, leadership and victory in "The Aneid", "The Iliad" and "Henry V".
1,400 words (approx. 5.6 pages), 3 sources, £ 37.95
»
Click here to show/hide summary
Abstract
Heroism, victory and leadership are, indeed, unique but not unrelated literary concepts. They have been long defined originally within the ancient Greek works. Ultimately, that which defines heroism in the literary context is a journey that takes the hero away from society, transforms him while on the journey, and a triumphant return to impart new knowledge upon the community. Victory is clearly defined as an achieved domination of one party by the other - but true victory is much harder to define and more commonly achieved by isolating a set of parameters necessary to be met before victory can be achieved - often that victory comes at a cost to all parties because it is never really clean. Leadership, particularly in literature, is necessary to drive the hero to his goals and to take credit for a victory. The main character of the story does not always take up a leadership role, but they must respond and react to that role. It is the purpose of this paper to examine these three concepts in the context of the "Aneid", the "Iliad" and "Henry V".
| |
|
Fantasy Literature, 2002.
A comparison of the fantasy novels "Wheel of Time" and "Lord of The Rings".
1,240 words (approx. 5.0 pages), 0 sources, £ 29.95
»
Click here to show/hide summary
Abstract
This paper compares Robert Jordan?s "The Wheel Of Time" to J.R.R. Tolkien?s "The Lord Of The Rings". It explorers the these great examples of fantasy literature through their similar characters, themes and names. The paper describes that the books are both magical with similar dark lords, heroes, keepers of the lands, monsters, and parents to the heroes.
From the Paper
"Like all other fantasy books, some resemble others greatly. Robert Jordan?s "The Wheel Of Time" closely resembles J.R.R. Tolkien?s "The Lord Of The Rings". The resemblances are mostly resembled in the first few books. Some resemblances occur in many other fantasy series too.
The first and most obvious parallels are the heroes, Frodo in "The Lord Of The Rings" and Rand in "The Wheel Of Time". The heroes in both books are unwilling characters approached by guides and are sent off on dangerous missions where they must fight fear, and face overwhelming chances of failure. They are from far-away places that most kingdoms have never heard of. In "The Lord Of The Rings" they must go and destroy the ring, in "The Wheel Of Time" they must fight Shai'tan. They are targeted by a dark leader. The dark leader in "The Lord Of The Rings" is Sauron, and in "The Wheel Of Time" it is Shai'tan. They have moments of truth where they must have the courage to go beyond their boundaries like going into Shayol Ghul in "The Wheel Of Time" and into Mordor. It is all up to them to save the world."
| |
|
Ancient Literature and Modern Day Life, 2008.
An analysis of how closely modern day life is connected to the life depicted in "Everyman," "Gilgamesh," Homer's "The Odyssey," and in ancient Egyptian poems.
959 words (approx. 3.8 pages), 1 source, MLA, £ 24.95
»
Click here to show/hide summary
Abstract
This paper explains that, on first glance, the atmosphere of the ancient Mesopotamian epic "Gilgamesh," Homer's "Odyssey," the Egyptian songs for the dead and the medieval allegory "Everyman" seem quite foreign to our modern culture and sensibilities since the works depict heroes grappling with the gods in a one-on-one fashion, and valor and might are the ultimate determinants of a man or woman's prowess. The paper then argues that the issues these heroes must deal with, however, are also basic human issues common even today and that because of this, these pieces are not simply curiosities, but still resonate as vital works of literature.
From the Paper
"The plea for companionship in the face of death "Everyman" takes on a transcendent power because of its universality and the desire for home in "The Odyssey" gives the work a timeless quality, and makes the amoral protagonist sympathetic. Likewise, in "Gilgamesh," the protagonist's sorrow about losing his beloved best friend makes him sympathetic, even though like King Odysseus, King Gilgamesh is often violent, deceitful, and cruel. When he is punished by the gods, like Odysseus, it is not in an especially just fashion, but simply because he has been cursed for killing the evil demon Humbaba of the Cedar Forest, when provoked and attacked. Instead of Gilgamesh losing his own life, his dearest friend Enkidu is taken to the cruel place in the underworld, which like Homeric conceptions, is a terrible place, regardless of how morally one behaves in life."
| |
|
World War One Literature, 2003.
A consideration of literary techniques used by the authors of four different World War One texts and their attitudes to war and contemporary society.
2,099 words (approx. 8.4 pages), 7 sources, MLA, £ 46.95
»
Click here to show/hide summary
Abstract
This paper analyses four texts in terms of language form and structure and the way the writers use the genre of their choice to express their thoughts and feelings.The four pieces are ?The Hero? by Siegfried Sassoon, ?Goodbye to All That? by Robert Graves, ?Journey?s End? by R.C.Sherriff and ?Black Adder? by Ben Elton and Richard Curtis. It looks at how the texts are typical of World War One literature and the influence of the time of composition and the significance of the gender of the writers.
From the Paper
"More than in any other previous conflict, the Great War inspired writers of all generations and classes to write about their experiences in a way that was totally new to previous war literature. The new manner in which the First World War was conducted dramatically changed the way war was viewed, which is naturally reflected in the literature written. Before 1914 wars were largely fought abroad, which therefore meant that people wrote about war with a somewhat detached view as they were completely removed from the immediate situation. At this time war was considered, by most, to be a cleansing, almost health giving experience and the literature written, for example Alfred Lord Tennyson?s poem ?The Charge of the Light Brigade?, celebrated Victorian values of devotion to duty, patriotic loyalty and sacrifice."
| |
|
Achilles vs. Athena, 2002.
A debate on who is the greater hero of Homeric literature between Achilles and Athena.
1,150 words (approx. 4.6 pages), 3 sources, £ 31.95
»
Click here to show/hide summary
Abstract
This paper will discuss the ways that Athena is a greater hero than Achilles in Homeric literature. By addressing the weaknesses of Achilles, we can substantially prove that Athena is a greater hero in the Homer's portrayal of the Greek goddess.
| |
|
Classical Heroes in Star Wars, 2008.
An analysis of the influence of Greek mythological heroes, Perseus and Heracles, on Alan Dean Foster's "Star Wars" heroes, Luke and Anakin Skywalker.
1,935 words (approx. 7.7 pages), 5 sources, MLA, £ 43.95
»
Click here to show/hide summary
Abstract
This paper examines how the journeys and triumphs of Luke and Anakin Skywalker, the main protagonists of Dean Foster's "Star Wars", can easily be depicted and compared to the heroic events of the mythological Greek hero. The paper maintains that the six episodes of "Star Wars" can be directly correlated to stories of Greek myth. In particular, the paper posits that Luke and Anakin are clearly analogous to the heroes Perseus and Heracles. It also adds that, as Jung identifies specific archetypes that are prevalent in a heroic journey, Anakin and Luke easily fit each pattern of the classic hero in the modern movie series. To conclude, the paper draws a parallel between the sci-fi and classical heroes in that each hero, being half-human, half-god, has the ultimate burden of confronting their own mortality.
From the Paper
"The journeys of Luke Skywalker, Darth Vader (Anakin Skywalker), and even their associates repeat the heroic pattern and archetypal events and heroes of Greek Mythology. Just like Perseus, Anakin shares similar the heroic traits. Both have the distinction of an unusual birth from virgin mothers though Perseus was born from parthenogenesis involving Zeus. Attempts were made to kill each of them at a young age. Similar to the way Perseus was raised by the fisherman Dictys, Anakin was spirited away to be an apprentice to Obi-Wan. As he began to grow strong with the force, Obi-Wan and the Jedi knights became skeptical of his strengths. Similar to the way the Gods did not believe Perseus was powerful enough because he is half human, Obi-Wan is concerned Anakin is not fully prepared in being a Jedi because he is too arrogant."
| |
|
The Journey of Heroes, 2002.
This paper uses Joseph Campbell's "The Hero's Adventure" to examine the idea that we are all heros.
900 words (approx. 3.6 pages), 1 source, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
This paper examines the conception of heros, or heroism as detailed in Joseph Campbell's essay,"The Hero's Adventure." The author discusses that each person defines a hero differently, and that it can be someone who has made a difference in our own personal lives, a famous person from history that has influenced many people, or the individual, themself. The author feels that many heroes are people who have come from humble beginnings and overcome many obstacles to succeed in their lives. The examples given in the paper are Ghandi, Jesus and the leaders of Ancient Greece. The paper also discusses the role of movies and television in promoting the role and definition of the 'hero' as the good guy who has triumphed over evil and adversity to save the day. Also discussed in the paper is how we are all heroes, as we all have overcome challenges and difficulties such as illness, death and trauma in our own lives.
From the Paper
"The hero?s journey is essentially a cycle of going and returning, and for most people this involves a journey within our self, in order to conquer our personal faults and self-doubts. Just as with the heroes of history and fiction, everyone faces trials and challenges throughout their lives. These challenges are often difficult, such as the illness or death of a loved one, the trauma of being the victim of an accident or of crime, or the loss of a job. Others, such as moving home, starting school, or changing jobs, are situations that can be stressful and require us to adapt and reevaluate our priorities. These events and situations require the individual to show the same ?heroic? qualities of courage, bravery, persistence, and self-discipline, that fictional and historical heroes exhibit in their mythical, hero?s adventures."
|
|
|
